Anatomy of a Photoshoot

Lesson 36 of 38

Photoshoot: Tether Tools Table

Anatomy of a Photoshoot

Lesson 36 of 38

Photoshoot: Tether Tools Table

Lesson Info

Photoshoot: Tether Tools Table

We have a close approximation of what we shot yesterday, and the goal of this is to make sure that we have a high contrast image and we have to have the background totally black because michael is gonna have to chop this out really, really quickly using a selection tool. Now we're going to actually do this later, probably back when we get to the office and make it perfect, but for a client, we have to do something really quickly and to show you guys, unfortunately, our client. So lauren and josh got stuck in the hurricane stuff in the in the northeast, so they were supposed to be here today so we could talk to them and have them review things, but unfortunately, the weather just didn't work out for him and sorry for bringing the northeast and along the east coast, we hope everyone is safe, so they're involved in all of that. And so normally we would have some reviews, but we couldn't because of the weather, so I'm gonna keep shooting this, um, and chelsea have you metered? No, I have n...

ot. That sounds like a song, doesn't it? Chelsea, have you meet her? All right? Yes, just for the people that maybe weren't here the last couple days or have haven't heard you talk about what is the final product that you're looking for what is the final product? We're going to show you in about twenty minutes, but the final product is going to be the model um in the background back here somewhere there is an advertisement were actually creating an advertisement in the foreground were showing the tether tools table and then on the screen we're going composite and probably not today because going take so much time going composite in a final photo and so the models that we've been shooting were going to be in the back out of focus and then on the computer screen they're going to be, uh probably in light room completely clear so you can see that this tether tools table was used with this computer to create the image that you see on the screen and we're in a studio you want this actually plugged in? No, we can just do that. No, we're just going to shoot this so let's go ahead and meet her. This okay the back is meeting five six friends meeting four or three okay let's boost this up here is meeting right now twenty okay, let me think that dad and this is a ten on it and that the back one has a hood thirteen thirteen and can you meet you that six three six three so boost that in fact maybe crank it all the way up so we're thirteen on the front okay make sure I'm all the way and hard this is for the proof of concept so we'll have a table that we can drop into this ad make it work I've got that and we're at thirteen correct for something like this sometimes manual focus is the best way to go cup owie so for this we need to have more separation so we're missing here john um we need more light from underneath here so I think what we can do is take that off and if you could meet her that sure or turn on the modeling light because I need to see if we're gonna get linds flare that was meeting at forty wearing what, forty meandering of forty yeah, we have linds flor so we need these modeling lights to see so let's take that down quite a bit and I need a flag you're going to see in this image look started cool but we have significant lens flare going on right here so we need to do something to flag down and eliminate this lens flare what's happening I like how that's looking to get that john ok john just come on over here and you're gonna be a manual is gonna hold this ok just watch lindsay's just looking at the lens to see if we can knock that off that's it okay so I think we have not enough light on the table itself that meter kelsey is meeting at thirteen more time fourteen fourteen in this edge and the other edge is nine nine yeah, so we have way too much light fall off here. The reason for that this light is too low it's coming across here it's hitting this and nothing's hitting that so we need to fix that so we're going to take this bring this over this way you fix that considerably really get a nice even light in the front of that try that out. Eleven goes to eleven let's see for direction of light is set correctly now good. I like that we just need that backlight to have a little bit more and this needs to come forward a little bit to get the front edge of the tether tool table. What is this? Is this a five, ten ten let's get twenty okay to restricted yeah, let's get a twenty I just put that on the floor and I'll pick it up twenty. Yeah, the light was just too restricted for me that one more time fourteen okay that's looking pretty good. We need a light on this we can't see this at all I wanna do one on the ground or do we have anyone on the ground? No, you have to sow d four on the ground, yes just get a d forehead a soft box on the ground and we're just gonna add a little beauty light right underneath here and then we'll be good okay, I get that thank you okay kelsey is going to bring out that pack that should do it and that should do it like this and then I would get this all right michael I need to know that angle is gonna work for your head yeah, well seated m michael says yes ok is this firing no turn this les bon ok yeah you do that again underneath police sixteen underneath look at that. Wow nice very high contrast we're gonna cheat this over just a little bit on this side so we can eliminate that shadow and that will drop out very easily good okay, we have a little bit of fall off on the right hand side but for now we need it for the proof of concept I think that's high contrast enough redid to knock it out is it gonna work? Okay very good men you know a little more stand at the bottom a little more stand up. Okay. Michael says it's good I'm gonna take one more shot justus the safety chief to send a little bit more so I get a little more even light so we have our shot remember that's nine one for that's the shot when you raise this up just a little bit just to see if we can get a little bit higher contrast, and if it works, it works. If it doesn't, it doesn't watch out, kelsey, fourteen, see if that gives us a little bit more, and it does so. Um, by moving at light in, we went from having to get this tio react here from the right hand side, the image a little bit dark to filling that in just a little bit. So that's, that's, all I did. Okay, so last image is good for the proof of concept. It's gonna work. We got that my throat in light room, michael's going to bring over his thumb drive. We're going to give that to him, he's gonna work his magic.

Class Description

Join Mark Wallace as he dissects a commercial photoshoot to reveal each step at its most basic level. From technical aspects of lighting and color, to real-world experiences working with art directors, make-up artists, models, and other professionals, you’ll have a firsthand look as he puts each piece together to complete several complete concepts from start to finish. This unique course explores the fundamentals of commercial photography, from the smallest jobs to the biggest productions. Bring your questions from your own shoots, or use this experience as a roadmap when planning your first jobs. Mark will be chatting with the live worldwide audience throughout the weekend!

Brian Geoghegan

Mark Wallace, Brilliant at what he does, so clear to understand, he is amazing, well done Mark great workshop, I learned so much. Thank you, kind Regards, Brian from Ireland

Sean

Mark really knows his stuff. He was very well prepared and Mark did a great job teaching this course. Mark went through all the steps from beginning to end in great detail. He also answered questions from the audience an online viewers which helped fill in any blanks. Great course.

a Creativelive Student

I loved this workshop! Many things I struggled to understand about exposure and many other things became so clear! Just wow!